brokenwing

Thanks for clarifying, Alexandra. I thought that the name ''Chopiniana' was simply a change made by Balanchine to modernize the ballet or seperate it from it's original form as ''Les Sylphides''. I had no idea that's what it was originally titled!

Correct me if I'm wrong but hasn't it always been done without sets or costumes? The name was changed from Les Sylphides to Chopiniana along with the costumes/sets so it's essentially a different ballet with the same choreography. I know that at SAB there is even a picture of the last time Chopiniana was performed in workshop in the 80's and it features the same dress of this year's workshop. I was simply under the impression that while they're the same ballet the title Les Syphildes denotes costumes/sets, while the title Chopiniana denotes a lack of costumes/sets. No?

I was lucky enough to see Wednesday night's program of Square Dance, Hallelujah Junction and Who Cares? and I thought I'd go ahead and start a thread for that performances and the performances to follow in this week. Square Dance; in a word, phenominal. Abi Stafford has truly found a role that is *hers*. I missed her in the winter season, but she absolutely excelled this go around, and certainly surpassed other dancers I've seen in this role. Nikolaj Hubbe didn't perform this role last season, so it was great to see him this time, and as usual, he gave plenty of life to the role. Something that was fresh was just how different it was from Peter Boal's interpretation. It's nice to see that this company has dancers who can give two totally different approaches to a role and still make it their own. Hallelujah was a last minute replacement for Morphoses, which I would have preferred, especially with Amar Ramasar set to debut. Still, Janie Taylor easily made me forget what I was missing, and Hallelujah is still one of my favorite Martins ballets. Sometimes I may not feel as strongly about certain dancers that Martins adores, the main exceptions being Alexandra and Janie, but I must say that no matter what, his choreography flatters the dancers he uses (the one exception being the bizarre Darci/Jock pas in ''Guide to Strange Places''). Even though he didn't choreograph Hallelujah on this company, he choses his dances well, and should be applauded for that. Who Cares is such a perfect closing ballet, even if I always did find it to run a bit too long. Miranda is absolutely stunning in this ballet, although I admit I am a bit partial to her in it since it was the first time I ever saw her after her return. Janie Taylor danced with her signature abandon, and Jenny Somogyi was near perfection in her variation, nailing the fouettes, doing single-double and finally nailing a triple as a finish. Phillip Neal has presence enough to make me happy, and remains the best I've seen this role danced out of Nilas Martins, Charles Askegard and Mr. Neal. Anyone else seen the ballet this week?

Alexandra is certainly deserving of a contract on the fact that she was able to save the day alone, but I do wish that Ms. Taylor had gotten her contract as well when she saved the day in that crazy performance of 'Jeu de Cartes'.

BTW, Ashley Ellis is in the corp at ABT now.

I wanted to say a little more about the wonderful performance, since I didn't get much in on that in the last post. This is certainly a role that one might think was tailor-made for Ansanelli upon viewing, if you didn't otherwise. It fits her like a glove, and as Michael touched on before, the audience is more than thankful and appreciative of what she's giving them. She gives, they give back. Alexandra's technique may not be perfection, but one would hardly even notice in that ballet because she uses it so well, which is a quality Alexandra is able to use in most of her ballets. I'd take a million Alexandra performances over certain technical drones that will remain unmentioned. Did I mention that Alexandra has now managed to tie herself with Ms. Taylor as my favorite female dancer in the company? The girl is as bright and fresh as anything I've ever seen on that stage, and will certainly make audiences very happy in all the wonderful years of her dancing to come. As for other cast members, Benjamin Millipied was a good Frantz, and his good technique, large jump and pleasant acting capabilites did well on creating the role. Lindy Mandradjeff absolutely blew me away in the Waltz, even if it's not a particularly impressive or thankful role. Her technique and line will hopefully not go unnoticed in this company.

I don't know if anyone saw this, but something happened in the first act to Alexandra, and she entered the stage at one point with a tissue in her nose and was fooling around with that, something certainly not choreographed into the ballet. The next day, the program was rescheduled (Morphoses to Hallelujah Junction) due to someone's illness in Morphoses, and I'm wondering if the two things aren't related, thus offering an excuse for a more tired third act rather than she simply ran out of steam. I really hope Alexandra is okay, because I'm unsure about whether or not they have another understudy for Coppelia (she was, after all, simply the understudy for Yvonne and Jennifer Ringer), and Coppelia goes for the last time today. It would be interesting to see who would fill her shoes should Alexandra not have recovered (if she is actually ill at all, that is).

Bobbi, which ballets would you go on the record as saying were Macmillian-esque in the City Ballet rep?

Perhaps then, the criticism of a lack of classical technique has been misinterpreted as a criticism of a lack of classical pieces in the company? I think that's more of what I meant.

Things have obviously changed a lot since Balanchine died, but I don't think things are so fargone yet that we should resort to calling the company NYCB Theater. I feel that there are still choreographers that make ballets on the impulse of music, as you've said, and Wheeldon is one of them. Have any of you seen 'Morphoses' or 'Mercurial Manouvers'? Those ballets are about as musical and genius as one can get, and I don't think there is a storyline in either that overrides the musicality. Perhaps we've simply analyzed too much and Wheeldon really didn't mean anything by the comment. Even if he did, I do believe there are other choreographers out there who can fit the bill of choreographing ballets that follow the legacy of Balanchine, even if they pale in comparison. Having said that, NYCB has changed a lot, which is pretty obvious. I personally feel that much of this is due to outside pressure and criticisms about a lack of classical technique or sense of classicism. I've even heard *very* important figures in the NYCB world discussing this. That is simply something I found intolerable. Why must such criticisms be taken to an extreme need to be proven wrong? There are thousands who adore the company for what it is or was or whatever, so why should it have to change just to prove a few naysayers wrong?

but upon considering things that Leigh and Alexandra have mentioned already, realized he meant no harm by it. I don't think he meant to say Balanchine's ballets lacked richness but rather there are other choreographers, like MacMillan, who could serve him that as well that he was missing out on.

I actually enjoy Somogyi a great deal, mannerisms and all. It's just that I feel that she, among other company members, should be put in more roles that showcase her abilities rather than her flaws. She was a good Swan, yes, but there were plenty of problems with it as well. It should be interesting to see how she improves in a few years, should City Ballet revive the ballet then. Did anybody see Somogyi do Symphony in Three on Wednesday? That's a role she definitely excels in.

I enjoyed Somogyi, but her mannerisms tend to bother me in certain ballets, Swan Lake unfortunately being one of them. She definitely gave it her best effort though, and I can appreciate that. You liked Stafford? I can respect her for her technique, but there just never seems to be anything going on in terms of presence. I just want her to open up, as I know we've already seen plenty of great evidence of her technique.

I sincerely hope someone saw Wednesday evening's performance because it was on of the strongest I've seen City Ballet do in a while. The program got off to an wonderful start with ''Symphonic Dances'', a personal favorite among Martins ballets, with Janie Taylor in the lead, filling in for an injured or sick Yvonne Borree. I was completely blown away by Janie, who has always been a favorite of mine, yet somehow managed to impress me even more that evening. Normally words like 'abandoned' and even 'crazy' can be used to describe her movement quality, but that night she was dancing with subtlety and thought in ways I had never seen before. She really was a ballerina. If this girl doesn't get promoted next year, then no one really deserves it. Nikolaj was his usual charming self, and certainly seemed to be enjoying his role. Two of the apprentice boys, Austin Laurent and Christian (can't spell his last name, haha), made their debut in the piece and fit in well. Morphoses was the second of the trio of pieces to go on Wednesday, and it remained as thrilling as always. I still marvel at the way Wheeldon can make a ballet so perfectly attuned to the music and the abilities of the dancers he's choreographing on. It should also be interesting to see Amar Ramasar performing in Damian's role next week. The closing piece was the final performance of Symphony in Three Movements this year, and though it may not have been the best I've ever seen it, it was certainly nice to see Somogyi and Evans in the second movement. After the ballet is over I decided that it really is Balanchine's most genius leotard ballet. The ending still gives me chills with each performance.

I'm surprised no one has posted on the ballet yet. I saw it on Monday night with Herman turning in a beautiful performance in the first act. I did not care for the actual ballet, the choreography, or most of the dancers' interpretation of the choreography, though the ideas behind it (the elaborate sets, the massive choir) were nice enough. Anyone care to share their thoughts?

Is there anyone here who can actually wait for Tchaikovsky Piano Concerto No. 2? I know I certainly can't. I can't even wait for Interplay, and I've seen that ballet so many times I'm not sure I can stomach it again. But for Bouder, anything is reasonable.

It's hard to ever dislike Barrocco, and last night was not an exception, but there were certainly plenty of problems. Both women were off the music a majority of the time, and Maria was just too long and stiff for the role. I felt she lacked the soul that Wendy and even Yvonne have put into the role in the beginning of the year. Ives, Songs bored me to death. I adore Robbins and am certain the ballet had a point, but I just either didn't get it or didn't enjoy it. There wasn't much dancing to it and Wendy only seemed to appear for a hot second. Ms. Korbes, though, was beautiful, and I was simply glad to see her getting a lead. I felt that Guide To Strange Places was the strongest it had been, in it's fourth and final performance this season. While it is mainly comprised of things we've all seen before from Martins, the music is wonderful and I felt he's done well with it. The ending is spectacular, with all the dramatic poses and stops, and then finally sinking back into the darkness. And really, you couldn't ask for a better cast. Now onto tonight! The best program I've seen in a while, with Symphonic (which Janie and Sebastien are doing next week but unfortunately during workshop), Morphoses and the final performance of Symphony in Three this season.

A Wheeldon Swan Lake?!?! Now *that* is what I want to see, especially on a company like Pennsylvania Ballet. Looks like I'll be making a trip to Philly to see that one.

Unfortunately for me, as they are two of my favorites in the company, Ansanelli and Taylor are not principal, but it is certainly interesting how they get principal treatment. When was the last time you saw either one of them in a role that isn't normally reserved for principals only? It is also of interest to note that both women seem to be the only soloists who aren't often even overlooked for corp members.

Did anyone see Tess Reichlein (sp?) in her debut of Tchaikovsky Piano Concerto No. 2 last night? Absolutely stunning. Ms. Whelan and Mr. Tewsley were also radiant in the piece, Wendy the strongest she's been all season, executing beautiful fouettes and finishing with a balance. Nicholaj Hubbe also did a stunning rendition of Donizetti which eclipsed Mr. Woetzel's two performances earlier this season.

Emmy Hendrickson has sadly left SAB and quit dancing all together. Her sister Jessy has left the company but still takes classes at SAB. I'm so excited for Maggie (Magrielle) as well. She's an absolutely gorgeous dancer, a thrill to partner, and deserving of a company contract more so than almost anyone I know of. Starr Book has been with Lexington Ballet for a while now as well. A girl named Danielle Obert (is that her last name) who was at CPYB for a year or two and many summers is also at Lexington Ballet.

But names unfortunately escape me for the most part, so I won't be able to go into much detail. Danny Tidwell, though, was by far the star of the show, and his technique has improved in ways that I wouldn't have thought possible. He did a rather flashy pas that I didn't care too much for, but it was worth it to see him. The other standout would be Ms. Sarah Lane, who was beautiful as always, and strong technically in a piece about the underworld. It's a shame that she isn't getting a corp contract or even an apprenticeship with the company this spring, because she certainly deserves it. I was also appreciative of the clean male strength to be found in Grant DeLong, Alexandre Hammoudis, and Bo Busy, as well as the most *gorgeous* and best-used feet I've seen in a long time that belonged to a girl named Kelly who's last name escaped me.

This is the first time I've managed to come in contact with people who are familiar with Lexington Ballet/KBT! I haven't seen a KBT performance in a long time, but as long as Rafaela is dancing, I'm sure it's worth it.

As you mentioned, Michael, some of the better placed dancers are the younger ones, and the older ones could likely do a better job but many simply don't care any more. Perhaps instead of being concerned about the school, we should instead turn our worries to a lack of motivation among once-spectacular corp dancers. We see it happen all the time; people seem to become depressed with being in the corp and the simply don't care and wonder about the stage like zombies. The sad thing is, I'm not sure there is anything one can do about that, as there are always people who are going to be disappointed with their position in the company. The only thing you can do is wait for a new wave of young dancers who are fresh and inspired, which I believe has been happening lately. Ellen Ostrohm, Jessica Flynn, Stephanie Zungree, Sterling Hyltin and Adrian Danchig-Waring have all been lighting up the stage with their new presence in the corp, and with the rumors the Mr. Martins will again be taking a large amounts of students as apprentices due to the Balanchine Celebration, I think we can expect even more of that to come. There've also been rumors of many of the corp girls pursuing other careers/paths, which will hopefully make some of the less motivated with ballet happier in life. There are only two leaving so far, that I know of (Ms. Ash is going as a soloist to Beijart Ballet, and Ms. Ciccone is going to Stanford University), but talk says otherwise. But of course, talk is often unreliable, and I don't want to become a gossip queen at the board. ;) Either way, it's going to be very interesting to what changes the new year and the Balanchine Celebration shall bring.